demonstrates, although on the
Continent such legislation could indeed apply to female same-sex intercourse
(tribadism) and heterosexual anal intercourse, in practice it applied largely
to anal penetrative sexbetweenmen. Prosecutions for tribadism were
vanishingly rare on the Continent and simply non-existent in England;
while for heterosexual anal intercourse they were “relatively rare” (Same-Sex
76). More importantly, however, even though this statute and those which
Loughlin, Same-sex desire in early modern England.indd 59
Same-Sex Desire in
as persistently as the Monster pursues Victor.
The fact that ‘unspeakable’ is one of the most
famous code words for sexbetweenmen and, as Sedgwick notes, one of the
most distinctive Gothic tropes again suggests a relationship
between the conventions of Gothic textuality and historically determined
discourses about homosexuality. 18 Of course the code ‘unspeakable’
does not actually reflect a
carries it confidently into the more solid architecture of his own fiction.
In Taha and Matt’s hands, in Nantwich and Will’s, fantasy infiltrates the
The touch of reading in Hollinghurst’s early prose 33
acutely observed realism of The Swimming-Pool Library. Although sexbetweenmen is out in the open in Hollinghurst’s work, the tension, the
need, and the secrecy of the style his thesis documents is still present in
his writing, still activated and implicated by our touch.
The textual care that Hollinghurst’s thesis takes turns into a more
: Princeton University Press, 2007) , 29.
8 See Nissen, Manly Love ; Caleb Crain, American Sympathy: Men, Friendship, and Literature in the New Nation (New Haven: Yale University Press, 2001) ; Jonathan Ned Katz, Love Stories: SexBetweenMen Before Homosexuality (Chicago: University of Chicago Press, 2003) ; Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985) .
9 Morris Berman, The Twilight of American Culture (New York: Norton, 2000) , 35.
10 Michiko Kakutani, ‘Grim View of a
, 133, 141, 146, 148, 158.
9 Thomas Hobbes, Six Lessons to the Professors of the Mathematiques (London, 1656), p. 56.
10 Mark Goldie, ‘John Locke and Anglican Royalism’, Political Studies, 31.1 (1983), 61–85
11 Nicholas von Maltzahn, ‘Samuel Butler’s Milton’, Studies in Philology, 92 (1995), 482–95.
12 See Paul Hammond, Figuring SexbetweenMen from Shakespeare to Rochester
(Oxford: Oxford University Press, 2002), pp. 191–95, and Derek Hirst and Steven N.
Zwicker, Andrew Marvell, Orphan of the Hurricane (Oxford: Oxford University Press,
Rewriting Shakespeare in A Poem upon the Death of O. C.
Echo and Narcissus, he also echoes his
own self-identification as Echo in ‘To His Coy Mistress’, line 27 (‘My echoing song’).
On some implications of this phrase, see P. Hammond, Figuring SexbetweenMen from
Shakespeare to Rochester (Oxford: Oxford University Press, 2002), pp. 219–24, esp. 224.
32 Cf. Knoppers, Constructing Cromwell, p. 151; Smith, The Chameleon, p. 152: ‘Eliza is a
wax model of her father within him’.
33 Sherwood, Oliver Cromwell, pp. 144–150, 158.
34 Ibid. p. 145.
35 N. Llewellyn, ‘The royal body: monuments of the dead, for the living’, in L
Unveiling American Muslim women in Rolla Selbak’s Three Veils
Alberto Fernández Carbajal
contemporaneous societies. It is important to note that the rape of women is not once mentioned in the Qur’an. The Qur’an also sanctions forms of non-consensual sexbetweenmen and women, such as between a free Muslim man and his female slaves. The work of Azman Mohd Noor demonstrates that classical Islamic jurists attempted to redress the sacred text’s lack of reference to women’s sexual rights: ‘Rape is translated in Arabic as ightisāb or zinā bi al-ikrāh , which literally can be translated back to English as forcible unlawful sexual intercourse. The word ightisāb
Rochester, Mennes, Pepys, Urquhart and the sense of dis-ordure
Peter J. Smith
but fated buggery implies that Rochester
was fully aware of, and antipathetic towards, the moral bankruptcy of
the Stuart court. Indeed Hammond goes so far as to conclude that
Rochester’s depiction of homosexual relations is ultimately
reactionary, even condemnatory: ‘It is a way of conceptualising
sexbetweenmen which would surely have satisfied the most censorious
Restoration divine.’ 88
betweenmen in the
UK, was not so much rejected as not even countenanced.
7 Audrey (Anthony
Hopkins) and Touchstone (Derek Jacobi) in rehearsal, the
National Theatre, 1967
Williams’s insistence that there had been
point in the development of celebrity
culture during the 1960s, and herself rapidly becomes something of
a media star. The scandal attached to her name and image in Ireland
only enhanced her glamorous image in Britain and America. And
the works themselves have an affinity with popular romance forms
that would generally have been understood as mainly of interest to
women readers. Despite the grim representation of sexbetweenmen
and women in O’Brien, most of the women she writes about are
invested, above anything else, in their romantic relationships with